Stunning in a different way are the three Marines at the center of the series. In their true stories and, more importantly, their individual responses to the demands of warfare, we find a perfect trinity of action, emotion and intellect.

Perhaps the most glorious Masterpiece Theater of all time.

The best parts of Treme are breathtaking. And then it exceeds that.

What makes The Walking Dead so much more than a horror show is that it plays with theatrical grandeur, on a canvas that feels real, looks cinematic and has an orchestral score to match. For all its set pieces, however, Walking is most breathtaking in its small moments, in which the pain and glory of being human are conveyed with only the flick of a filmmaking wrist.

There is no mystery about the potency of this series, slathered in wit, powered by storytelling of a high order.

One welcome aspect of all this is that some of the plot threads which became so distracting last season, threatening to tip Big Love into crazy-flatulent "L.A. Law" territory, seem to be gone. There is more than enough left, along with consistently brilliant acting all over, to keep the show as mesmerizing as it ever was.

They [the Loud family] are to the contrary enlarged, explained, their family loyalty honored, in a film that ends up packing an emotional punch that's as surprising as it is eloquent.

Taken together there is in these 5 1/2 hours, breathtaking in their scope and detail, nothing approaching a dull moment.

Once you watch the first episode, it's going to be hard standing the wait for the next.

The vibrant brew of upstairs-downstairs relationships is more savory now, the characters more complicated.

Intricate plots (many updated versions of old favorites), fast pacing and smart, witty writing make Sherlock one of the most dazzling confections on TV.

Television's best drama series is, in short, back with all that was delectable about season one on vivid display again-first-class writing, sterling performances, rocketing suspense.

Downton has returned with all its powers intact, not least its power to mesmerize its armies of devoted fans.

What Mr. Lynch does so well is to imbue something as ordinary as small-town America with an inchoate threat, an ax waiting to fall. In short, Twin Peaks is creepy... After two episodes, Twin Peaks is riveting. And it's so cool, it's chilly.

Moment after moment the drama deepens, the rich complexity of Ford's characters make themselves felt in all their strangeness and variety.

Watching "My Name Is Earl" unfold is like taking a hydrofoil ride and flying so fast above the ordinary surface of television life that when the show ends you feel dazed and amazed for hours afterward.

What makes it uniquely entertaining are Mr. Rock's and co-creator Ali LeRoi's humorous insights into the terrors of adolescence and their tart observations about harsh realities of the wider world.

Thoroughly sharp, seriously compelling.

It doesn't happen very often that halfway into the pilot for a new show, you're already looking forward to subsequent episodes just to find out more about the characters you've glimpsed in the first few minutes.

A work as shapely as it is sprawling -- no small trick -- it renders the complex history that led to 9/11 with a ripping power that can at times feel overwhelming.

It's clear that all that has made "24" so huge and deserved a success is on display again in these first smashing episodes.

It is even more excruciating -- which in this case means better -- than last year's.

Local stories can have more poetry than grand ones; that is the genius of The Wire. It's not what happens to the characters, or the societal trends the script explores, that matter so much as the authentic and precise way in which events are represented.

Its capacity to maintain an unyielding grip on your attention becomes similarly evident fast, as does one's strong sense that that grip isn't going to weaken anytime soon.

This three-hour production, starring most of the cast of the 2004 Broadway revival, flies by with lightning speed--and that cast led by Ms. Rashad, superbly authoritative, impossibly attractive as Lena, is no small part of the reason. Ms. McDonald is heartbreaking as Ruth, desperate to understand her husband's descent into misery, and Mr. Combs, who portrays that husband, delivers a sterling performance.

It's not often that television with a scope so novelistic--so ambitious--comes along, and not often, either, that it yields drama so sterling.

Its vivid, cliché-free writing has always been In Treatment's singular strength. That's even truer in its riveting new season--no small accomplishment.

The HBO film Grey Gardens shines new light on old subjects, and the result--including a fantastic performance from Drew Barrymore--is beyond entertaining.